Having released the first three 7″ singles in the Sound X Sound series over the space of just over a year, Niels Lyhne Løkkegaard has progressed to delivering the last four discs in the set at the same time, nearly two full years after the first appeared. Following the well-established format of the initial run, the final singles consist of Music For 15 Shakers, 18 Clarinets, 16 Triangles
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Where most bands opting to record a take on of one of their influential favourites would opt for a more or less straightforward cover version, Band Of Pain main man Steve Pittis chooses instead to invite Andrew Liles and Lucy Cotter to join him in re-imagining the anonymous poem “Still Falls The Rain”, as found inside the upside-down cross adorning the inner gatefold sleeve of Black Sabbath‘s eponymous first album.
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Since first appearing in 1968, Silver Apples‘ “Oscillations” — and perhaps to a lesser degree the flipside track, “Whirly-Bird” — have gradually become to be recognised as key pioneering moments in the history of electronic music that they most assuredly are. Play Loud! have pulled out all the stops for this, the first re-release of the single since its first appearance nearly half a century ago, giving it the remastering treatment along the way and faithfully reproducing the Kapp Records sleeve in facsimile.
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Niels Lyhne Løkkegaard has been busily investigating the particular qualities that can come from quantity on his Sound X Sound series of seven 7” vinyl releases. In this third instance, he has nine pianists playing two very different pieces in a veritable fall and resurgence along the keyboard, descending and rising up from the depths with results that are on occasion remarkably similar to some of the impossible to play black MIDI tunes that were all the rage for a while.
As ever, Løkkegaard’s compositions are more about the properties of the sounds that each instrument generates rather than having a specific musical character. This is of course what some sections of the avant-garde have
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The second in Niels Lyhne Løkkegaard‘s Sound X Sound series of 7″ singles, Music For 30 Chromatic Tuners follows on from Music For 8 Recorders in similarly trilling style. Where eight recorders together made for a sometimes gritty listen, Løkkegaard’s choice of not-quite instruments here leads him down somewhat different pathways.
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The first in the Sound X Sound series of 7″ singles which will each explore just one instrument, Music for 8 Recorders finds Niels Lyhne Løkkegaard‘s compositions tackling the alto and soprano varieties on each side of the record. On the evidence of the first disc, the rest of the Sound X Sound series should be well worth following, not least to discover how much Løkkegaard can push the limits of each instrument as intriguingly as he has done here with one as unassuming as the humble recorder.
The recorder (or blokfløjter in Løkkegaard’s native Danish) has long suffered an association with endless childhood lessons on the instrument, seen as it is (in Britain at least) as
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Blending shimmery blurs of electronics with West African-derived polyrhythmic loops and swerves, this taster from the forthcoming album from drum-loving noiseniks Gum Takes Tooth shimmies and shakes with a deftly-assured sway, ripples of synth and coasting vocal drones layered sparsely over and around the hypnotically-intertwining beats. If this is anything to judge by, then Mirrors Fold should be quite the LP to both satisfy the body and befuddle the brain.
It’s also no great surprise to find that singular exponent of harsh industrial grind turned rhythm enthusiast Cut Hands remixing the track on the the flipside of the 7″ vinyl either. Here, William Bennett applies his own particular brand of faux-Afro-futurism to the track, drawing out booming bass and
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Having played together at the Supersonic festival and with one joint CDr already under their collective (metal-studded?) belts, Zeni Geva‘s mainman KK Null and post-tuba drone duo Ore slip out this double A-side 7” vinyl single as a little extra, perhaps and hopefully prefacing more joint efforts yet to come.
While “Components of Circulation” is as doomy and droney as might be expected (and that’s not meant in any way to be dismissive), “Dawn of Time” lets fly an extremely pleasant combination of birdsong layered into a cacophony of the air over a slow-breathing whirl of mid-to-low tones. Eventually, these fold in upon themselves and slowly overcome the recognisable avian voices and subsume them into an eventually all-congealing wash of recursive FX.
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Hi there. I have some shocking news for you. You ready? Hogarth was wrong. HOGARTH. WAS. MOTHERFUCKIN’. WRONG. Yup. You heard right. Hogarth, with his celebrated piece of anti-gin propaganda, Gin Lane, was utterly wrong. (He was, however, right when it came to its companion piece, the pro-beer Beer Street, but that’s not really relevant here. I’m all about the Hogarthian WRONG). Gin, far from being a terrible scourge on health and society, is in fact a rather lovely scourge on health and society. Also, nobody in Gin Lane is wearing a Men That Will Not Be Blamed For Nothing T-shirt. Which they really should be. For “gin”, as The Men tell us on their new single, “is the tonic
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A few predictions: you like sleeves by Babs Santini. If you’re my age you’ll have spent a fair amount of time in obscure record stores and fairs staring at Nurse With Wound covers and wondering if it’s worth the 25 – 100 quid they were asking for the original vinyl. You’ll have grown to love those sleeves even if you didn’t shell out at the time. They’ll have stuck with you, like a berry rash. You’ll probably also like Peter Strickland who directed films that you’ll like called things like Berberian Sound Studio and Katalin Varga. Even if you haven’t seen those films you’ve probably already figured out that you’re bound to like them. Even if you don’t like them you’ll have
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Like the music of fellow synthpop freak Jimi Tenor, that played by the duo of Rättö ja Lehtisalo seems to come from a strange otherworld of their own devising, one where off-kilter percussion and jazzy notes sidle at the beck and call of Mika Rättö‘s distinctively weird vocals. It’s not even because they’re in Finnish, because Mika has an international delivery offset by the trademark tendency to surprise at any given turn which he also brings to his vocal work in Circle alongside Jussi Lehtisalo.
So while there’s none of Ed Benttonin briljantti stabilismi tai taivaallinen kylpysaippua‘s eccentric synthpop mania, nor even Kopernikus Hortoilee Näkinkengässä‘s archly motorik‘n’melodic pop, there is plenty to marvel in here, from the shuffling rhythms and soaring
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Second in the series of Fourth Dimension Singles Club 7” releases, Into The Dark represents Sion Orgon‘s first new music to be released in a good while. Like his previous album, 2008’s The Zsigmondy Experience, the A side of this 7” features appearances from Thighpaulsandra, Seb Goldfinch and the late Peter “Sleazy” Christopherson of Coil, Throbbing Gristle and The Threshold Houseboys Choir infamy.
The title track opens with an ominous nightmarescape of resonating gongs, scuttling electronics and layering drones. When Sion sings, it is in a lilting manner, at once elegiac and strangely triumphant as synthesizer squirls flip and whirr around him, together making an oddly poppish number which might once have been decorating the interior of a certain
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News having recently reached my ears of a troupe of performing “Gentleman Ne’er-do-wells” giving themselves the grandiose name of The Men That Will Not Be Blamed For Nothing, who have of late been Turning a fair few Heads, chiefly among the lower orders and the varied Forms of Scientists, Slatterns and Scum of London’s East End, I despatched a young Boy, who had been lurking around my Table for scraps of Food, to the local Market, armed with a shiny sixpence, with which to purchase their latest Offering and, of course, whose Change he could keep for himself, to do with as he will, it being nearly Christmas and the seed of Christian Charity having been planted in my manly Bosom. On his return, I set up my new Steam-Powered Musical Performance Contrivance, and retired to the
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Two oddities from the pacific North-West USA’s favourite oddball ethnodelic forgers of all things conjured up from an alternate world music scene. Side one’s “Themes From The Motion Picture Man With The Green Gloves On” is a slice of solemn gamelan’n’drone in their usual temple of the weird mode, all chimes and rumbling percussion interspersed with feedback and other signs of electronic life. As the drift becomes choral and the motion fritters into stoned wafts of sound, it’s almost possibly to smell the incense, inhale the smoke machine tendrils and feel the confusion which greets the many-robed ensemble as they continue their vocation to befuddle and bemuse.
But flipping to the other side of the 7” finds that “Theme From The Science Fiction Television Show
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